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49 pages 1 hour read

Jean Hanff Korelitz

The Sequel

Fiction | Novel | Adult | Published in 2024

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Part 3Chapter Summaries & Analyses

Part 3, Chapter 26 Summary: “The Burden of Proof”

Content Warning: This section of the guide contains descriptions of abduction, violence, and murder.

Anna wants to leave her life as Anna Williams-Bonner behind. She uses the credit card with this name to fund her transportation to several more cities for book events. Finally she travels to Georgia. In a motel, she cuts her hair and dons her wig. Then she travels to Athens, unsurprised that the town is largely unchanged. Moving through Athens, she remembers the year she spent here. After she killed Evan, she waited a few days before contacting Arthur Pickens for help selling the house. She hadn’t liked him and never expected to see him again after the house sold. Ultimately, she had to threaten to report him to the Georgia Bar Association if he didn’t expedite the sale. She still cannot understand how he would have connected her life as Anna to her past in Vermont but has some theories. Jake visited him shortly before his death, which might have piqued Pickens’s curiosity.

Anna discovers that Pickens lives in a gated community called Club Harmonie. She tracks his movements for a few days before finally traveling to his home one day while he is out. She lets herself in through the back door, which is unlocked. Inside, she studies the space and goes through Pickens’s files, discovering Evan’s manuscript in a plastic bag. Suddenly she feels something hit her head and she falls, losing consciousness.

Part 3, Chapter 27 Summary: “How to Save Your Own Life”

Anna wakes up bound in the back of Pickens’s car. Pickens is driving. She studies the trees passing through the window while trying to make sense of what happened. She determines that Pickens knocked her out and drugged her. She wonders where he is taking her but decides that he is not “the murdering type” (229). He interrupts her thoughts, announcing he knows that she is awake. Then he starts talking about Rose Parker and how he connected Anna to Rose. He contacted the coroner in Rabun County where Rose supposedly died and made some discoveries. Anna insists that she isn’t Rose, and Perkins laughs. Finally, they reach their destination.

Part 3, Chapter 28 Summary: “Bring Up the Bodies”

Perkins lets Anna out of the car. They’re in the woods. He takes out a shovel and demands that Anna lead the way to the bodies she buried at gunpoint. When they reach the spot, Perkins demands that she start digging. While she works, he records their conversation on his phone and explains how he figured out Anna’s story and what he wants from her. Not long ago, he received several messages from the women who bought the Parker house. They got a manuscript in the mail they believed was Evan’s and wanted to send to Rose. Evan had mailed the manuscript to a publishing house, but they didn’t send it back for years, as it had gotten lost. Perkins ignored the women’s messages but began searching for Rose. Eventually he met Jake and later learned of his death. Shortly thereafter, he saw Anna’s picture at a bookstore event and realized she was Rose. Then he read Evan’s manuscript and Jake’s book and discovered that Anna was in fact Dianna Parker. He now wants her to give him the money from Jake’s book sales or he’ll expose her for murder. He then demands that she confess on tape.

Anna realizes she has hit Rose’s coffin. She doesn’t tell Perkins and instead tells him to check the battery on his phone before she confesses the truth. When he looks down at his phone, she strikes him with the shovel repeatedly, pushes him into Rose’s grave, buries him, and leaves with his gun and phone.

In Perkins’s car, Anna heads north. She stops in Albany, gets a motel, and sleeps soundly.

Part 3, Chapter 29 Summary: “The Story of a New Name”

Anna arrives at her old house. A woman with red hair opens the door and introduces herself as Betty. Anna introduces herself as Jake’s widow and explains that she came on her way to Middlebury to give Betty the signed copies of Jake’s book he’d promised her before he died. She pretends to have found them in his things after his death but was too heartbroken to mail them at the time. Betty is flattered and invites Anna in for coffee.

Over coffee, Betty’s partner Sylvia surfaces. Her rude behavior reminds Anna of someone she can’t place. Then Anna asks for a tour, saying she wants to see the last place Jake visited before his death. Jake had gone there to see Evan’s house about which he wrote in Crib. During the tour, Anna is surprised to see the same pineapple wall stencils and her parents’ rope bed. Anna wants to leave but has resolved herself to kill the women and find Evan’s manuscript. Suddenly, she feels “a breathtaking jolt of pain” when Betty hits her on the head and calls her Dianna (266).

Part 3, Chapter 30 Summary: “Death of a She Devil”

Betty confronts Anna for all of the harm she’s called and her lack of guilt over her crimes. She holds a gun to Anna, but Sylvia suggests they call the cops instead. Betty dismisses Sylvia’s suggestion and continues her rant. She reveals that she is Patrick Bessette’s sister and blames Anna for murdering him and ruining her family’s life. When she received Evan’s manuscript in the mail, she and Sylvia read his and Jake’s books, discovering connections to the family who used to own the house and who she knew in childhood. She went to Anna’s book event and realized she was Dianna. She particularly understood the connection because Anna wrote about a rope bed that had secret compartments just like the bed in the house she and Syliva bought. Anna realizes that she got the whole story wrong and that these women were behind the other notes and manuscripts. When Betty mentions Patrick again, Anna calls him a rapist, setting Betty off. Anna withdraws Perkins’s gun, shoots her, and then shoots Sylvia.

From the hall, Anna observes Betty and Sylvia’s bodies in her parents’ old room. Then she goes in search of Evan’s manuscript. After she finds it, she creates a fire on the stove and flees the scene.

Part 3, Chapter 31 Summary: “Anything Is Possible”

Anna returns to New York. She gets in touch with her realtors who help her finalize a sale. Then one night, she meets with Wendy about developing a paperback tour for her book and writing a sequel. Wendy encourages her writing, reminding her that this time she doesn’t have to write about her own story if she doesn’t want to. While walking afterwards, Anna thinks about what Wendy says and decides that she’s right. She can write anything that she wants, and she’s always loved fiction.

Part 3 Analysis

Part 3 leads Anna’s narrative through its climax, descending action, denouement, and resolution. Desperate for answers and personal freedom, Anna travels back to Athens, Georgia, and to West Rutland, Vermont. These settings lead Anna even deeper into her past life. Her experiences in Georgia and Vermont underscore the psychological and emotional complexities that result from The Intersection of the Past and Present. Indeed, in both Athens and West Rutland, Anna is forced to confront the people and places that once defined her former life. Anna is trying to take active control of her fate, but these locations threaten to undo her. Both Arthur Pickens’s and Betty Bessette’s characters are narrative devices used to compel Anna’s character to justice, to force her to own her misdeeds and crimes, and to challenge her to change. Anna’s interactions with these characters indeed heighten the narrative tension and stakes as they threaten Anna’s ability to control her story and determine her own fate.

The novel uses Anna’s ultimate triumph at the novel’s end to suggest that the individual is innately driven to defend her story and identity no matter the associated costs. Indeed, in spite of Anna’s tumultuous experiences with Pickens and Betty, Anna faces no real repercussions for killing her parents, brother, daughter, and husband. The scene in the woods with Pickens in Chapter 28 augments the narrative tension in anticipation of the climax in Chapter 29 when Anna returns to “her family’s ancestral house” (243). In Chapter 28, Anna seizes control of her fate once more by manipulating and overpowering Pickens. In Chapter 29, the narrative reveals that the manuscript mystery has originated from Betty’s desire for justice on her brother’s behalf. This climactic revelation breaks the narrative tension that has been building over the scenes prior and leads Anna to an internal crossroads. Although she’s realized that her recent debacle wasn’t about “right[ing] some horrible literary crime” (269), Anna remains determined to control her own story. This is why she kills Pickens, Betty, and Sylvia. The novel isn’t arguing in defense of Anna’s violent crimes, but is rather satirizing the extremes to which the individual artist is driven to protect her intellectual property. Indeed, Anna has learned how to play the publishing industry’s games for her own gain. She may not value the same things other writers value, but buying into this system does give her the power to control her story, to best those who have wronged her, and to keep her past buried. The novel also subtly implies that the industry in fact promotes such dangerously competitive and selfish behaviors.

The novel uses irony at the narrative’s end to reiterate its central thematic and satirical underpinnings. Throughout the novel, all of Anna’s actions imply that she will eventually be caught for her crimes and thus proverbially “strung up for” the murders she committed (248). However, by the novel’s end, Anna has not only escaped criminal action but has, in fact, established herself in the publishing industry and maintained a level of status her authorial peers only dream about. She has triumphed because she’s been gifted with “a certain audacity, an autonomy, and a stubborn insistence on ownership” (286). The novel implies that while such traits might be useful to writing fiction, the publishing industry often exploits these facets of human nature. The individual writer is therefore culturally compelled to buy into warped industry standards of behavior in order to establish, maintain, and defend her name. Therefore, Anna’s triumph is therefore ironic because she thrives despite the logical reasons why her character shouldn’t by the novel’s end.

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